Studio Report - Sydney Conservatorium of Music (original) (raw)
Related papers
Studio Report – Sydney Conservatorium of Music, University of Sydney
2006
This report will give an overview of current activities in music technology at the Sydney Conservatorium of Music. Electroacoustic composition is a principal focus of the composition degree at the Conservatorium, and music technology is integral to the learning and teaching and research in music education, performance and musicology. 2006 saw the first enrolments in Creative Sound Production, which aims to provide students with the aesthetic as well as technical foundations of sound recording.
From sound production to music engineering
This paper reflects upon the studio educational needs of musicians who want to learn how to record their own projects. It builds on a mixed-method investigation of studio professional's contributions to musical recordings in the digital era, which is synthesized in a chapter of Music, Technology & Education: Critical Perspectives edited by King and Himonides (2016). We will extend the outcomes of this investigation with recent audio examples and a case study involving young musician-engineers in New York who use audio technology in symbiosis with their music creation. Eventually, a claim will be made regarding the necessity of teaching in music programs the listening and artistic skills required to work in the studio.
The Evolution of Technology: Landmarking Australian Secondary School Music
Australian journal of music education, 2014
This paper will provide an overview of the history of the inclusion of technology in Australian education with a focus on music education. There will be a discussion of some of the arguments for its inclusion and how these may have changed over time. Technology has always been actively present in music and its practice. However, it was through more contemporary genres of music that composers and musicians began to experiment with sound and technology. Such diverse thinking about the way technology can be used in music produced notable examples of electronic music such as, Charles Dodges Changes (1970) and Paul Lansky's Six Fantasies on a Poem by Thomas Campion (1979). The professional music industry now considers technology a valuable commodity that continues to improve the practice of music. Similarly, society has defined what is valuable in education in different ways. Standards are set by the Australian federal and state government and various educational authorities, such as...
University of Sheffield Sound Studios (USSS) -Studio Report
The University of Sheffield Sound Studios is one of the leading institutions in the United Kingdom for the study of acousmatic music. Key to this reputation is the staff team, an international collective of research students and a curriculum that prioritizes creative practice whilst recognizing the importance of technological skill. This paper focuses upon the recent activity of USSS and acousmatic music at Sheffield.
The music, technology and innovation research centre (MTI) at De Montfort University–studio report
2005
1. INTRODUCTION It has been five years since the first MTI studio report that was offered shortly after its creation (see [8]). A great deal has been achieved in the interim; these rapid developments form the main subject of the following paper. In terms of staffing alone, this brief history has been quite unusual. There was one staff member within the music subject area at DMU in August 1999; by the time the 2000 ICMC paper was written, this number had increased to three plus two Visiting Professors. Today there are nine staff members and our systems co- ...
Journal of Music Technology Education, 2018
In 2007 Carola Boehm published the introductory article within the first volume of the Journal of Music, Technology & Education entitled ‘The discipline that never was: current developments in music technology in higher education in Britain’. Boehm identified the higher education offerings in music technology at that time. In the ten or so years that have passed since those findings, we’ve witnessed both incredible growth in the HE sector and significant shift in the flavour of programmes on offer. This shift has been seen primarily in the growth of the creative practice-led title of ‘music production’, but not at the expense of traditional ‘Music Technology’. Boehm’s paper also explored the wider range of subject matters that could be considered within the then term ‘music technology’, whether by an ever-expanding technological backdrop, or through interdisciplinarity. In this paper, we report on the significant changes since then, with some analysis for the future whilst considering the current political challenges for British Higher Education.
Technology and Music Production in Different Genres: Key Issues for a Significant Music Education
Journal of Urban Culture Research, 2022
This research stems from the assumption that knowing how sound technology works, as well as its features and limitations, can help us better understand the mainstream music styles and genres of the last decades. Consequently, the evolution of music recording is explored through a grounded analysis based on both published documents and on interviews with currently active music producers who are specialists in urban pop music, with the aim to collect enough data to support the need to increase the presence of sound technology in the teaching plans of Compulsory Secondary Education. After the data analysis, several didactic proposals are presented involving the introduction of these technologies in secondary education. Thus, the aim is to update formal music education for teenagers and facilitate their informed and critical point of view so they can apply it to their own music consumption.